Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Norway and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1975.
I'm losing my edge.
To all the kids in Delhi and Accra.
I'm losing my edge to the art-school London kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Q65 to the jazz kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by David Axelrod. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
The Selecter,
Oneida,
Grey Daturas,
Andrew Ashong & Theo Parrish,
Buzzcocks,
Maurizio,
The Gladiators,
John Coltrane,
Gastr Del Sol,
Rod Modell,
Lower 48,
Chris Corsano,
Marshall Jefferson,
Deepchord,
Ludus,
Marine Girls,
Sister Nancy,
Alison Limerick,
The Count Five,
Kerri Chandler,
Pulsallama,
Hasil Adkins,
Junior Murvin,
Steve Hackett,
The Slackers,
Bang on a Can All-Stars,
The Alarm Clocks,
The Invisible,
Simply Red,
CMW,
Malaria!,
Mandrill,
Joyce Sims,
Minny Pops,
Dark Day,
Lungfish,
Wighnomy Brothers & Robag Wruhme,
Essential Logic,
Slave,
Jacques Brel,
Hardrive,
Soul II Soul,
The Men They Couldn't Hang,
Pere Ubu,
Barry Ungar,
Henry Cow,
The Misunderstood,
The Martian,
Make Up,
Grandmaster Flash and the Furious Five,
Bootsy Collins,
Grandmaster Flash,
John Cale,
Das Ding,
The Cosmic Jokers,
X-Ray Spex,
The Music Machine,
Robert Görl,
Terry Callier,
Bobbi Humphrey,
Sällskapet,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.